審計是一門應用的學問。一九七二年，NEWMAN的一份研究報告中，結論道：審計是最 難教授的課程。 自一九七○年來，美國文廚中充滿了對審計教育革新的探詩，學者與實務界各持觀點 不同，爭論不休。反觀國內，從未有關於審計教育專門性的研究報告。 本研究以座談會方式，對國內審計教育現況做一探討，又以學術界─審計老師、實務 界─會計師事務所查帳人員及公司內部稽核人員為問卷對象，透過變數分析，進行實 證研究，整合實務界和學術界對審計教育之認知，建立一審計課程架構。

El objeto de la tesis doctoral que he emprendido está constituido por la escritura reflexiva de Luis Oyarzún , expresada en diarios y correspondencia publicados, que permite indagar en su concepción de la temporalidad y cómo ella se relaciona, de manera significativa, con el estilo fragmentario de su obra y el carácter predominantemente intimista de ésta. De ese modo, la indagación permite revelar el entramado de su escritura reflexiva en una condición literaria particular, que no realiza un concepto de obra o corpus unitario, sino que más bien efectúa una diseminación, expresada en motivos múltiples, cuyo significante predominante es el fragmento, vinculable al viaje, a su nomadismo, como modo de estar en el tiempo y el espacio.

In fifty years, Houston Harte guided an organization that grew from one afternoon daily to a chain of nineteen newspapers in six states, and one television station. Much of the civic activity in San Angelo, his hometown, revolved around Harte from 1930 until 1970. He knew many politicians, such as Lyndon Johnson, and was willing to ask their help. Harte's major contributions were retaining Goodfellow Air Force Base's active status, helping San Angelo College attain four-year status, and influencing General Telephone Company of the Southwest to locate its headquarters in San Angelo. His numerous other projects were of lesser magnitude. This study probes Harte's sources of power, examining why he was successful in getting the projects he wanted for his community.

The study begins with an overview of the 1948 political situation, followed by the evaluation of Truman's use of ethical appeal using criteria developed by Thonssen, Baird, and Braden. Each of their three constituents of ethical appeal--character, sagacity, and good will--is applied to four speeches. Results of the analysis establish that Truman utilized a strong ethical appeal during the campaign. Conclusions are that his use of ethical appeal probably had a significant effect on the voters of America. Regardless of the quality of his use of pathos or logos, a less capable use of ethical appeal would probably have had a fatal effect on his campaign.

The 1972 Paris Peace Talks between Henry Kissinger and Le Duc Tho brought the American involvement in the Vietnam War to a close by early 1973. The main sticking points theretofore were stipulations in draft cease-fire agreements allowing Northern troops to remain in the South and the National Liberation Front's participation in South Vietnam's government. President of South Vietnam Nguyen Van Thieu adamantly opposed both proposed stipulations lest his power be diluted. Thus, Kissinger had to broker a diplomatic agreement between Thieu and Le Duc Tho which was acceptable to US foreign policy viz. “peace with honor.”

The topological entropy of a continuous map quantifies the amount of chaos observed in the map. In this dissertation we present computational methods which enable us to compute topological entropy for given time series data generated from a continuous map with a transitive attractor. A triangulation is constructed in order to approximate the attractor and to construct a multivalued map that approximates the dynamics of the linear interpolant on the triangulation. The methods utilize simplicial homology and in particular the Lefschetz Fixed Point Theorem to establish the existence of periodic orbits for the linear interpolant. A semiconjugacy is formed with a subshift of nite type for which the entropy can be calculated and provides a lower bound for the entropy of the linear interpolant. The dissertation concludes with a discussion of possible applications of this analysis to experimental time series. / by Mark Wess. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

This thesis examines the treatment of gay men and lesbian women through the multilayered lenses of the local Jamaican newspaper - The Gleaner, Dancehall music, and select works of Kei Miller, Kwame Dawes, and Staceyann Chin. The study is an exploratory one and as such its methodology is not confined to a prescribed model, but instead draws on a diverse range of theorists, some from postcolonialism, feminism, cultural studies, philosophy, Caribbean studies and more. This project's intent is to add to the newly emerging canon on queer Caribbean identities by further exploring societal representations of gay sexuality. The first chapter looks at the portrayal of Jamaican gay men and lesbian women through the public discourse of the Jamaica Gleaner. The second discusses the treatment of male and female homosexuality in the popular discourse of Dancehall music. The third chapter analyses the depiction of Caribbean gay and lesbian sexuality through the recent works of authors Kei Miller, Kwame Dawes and Staceyann Chin. / by Victoria E. Cann. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Revising Yeats's rhetorical question, this dissertation asks: "How can we tell the dancer from the music?" In the early twentieth century Isadora Duncan and her barefoot protégées initiated a performance tradition that would later be recognized as American modern dance. They did this, to a great extent, by embodying European "absolute music." Soon, however, choreographers and dancers of this new art form faced modernist calls for medium-specific "absolute dance" that would express movement's autonomy and not the autonomous music of Bach, Beethoven, and Brahms. As John Martin, one of the nation's first dance critics, wrote in 1933, "There is a long, sad story to be told about the use of music for dancing which was never intended to be danced to." Today that story is even longer; contra Martin, it is not sad. As the use of classical music was a primary component in the earliest forms of "free dance" and as it remains in some of the most critically acclaimed and commercially successful modern dance today, this use is in need of critical and historical attention. Tracing an alternative genealogy from Duncan's then-scandalous embodied empathy with sacralized art music, the central chapters of this study of the use of music in American modern dance focus on the lives, works, and reception of two choreographers: Ted Shawn and Merce Cunningham. Both of these men founded his own dance company and created works where choreomusicality, or the relationship between music and dance, remained especially vital. For Shawn, wishing to go even further than Duncan, this meant creating choreographies where dance followed the music as closely as possible. Indeed, in his "music visualizations" (a term that he coined with his wife and colleague Ruth St. Denis) his goal was to create dances that were perfect translations of the music itself. Such translation is ultimately impossible, and in attempting it, I argue, Shawn ended up revealing more of himself--specifically, his desire to perform a non-conventional masculinity that he normally felt was off-limits--than he did of the music. Reacting against this tradition--the standard history of modern dance goes--was Merce Cunningham, in whose mature choreographies music and dance are united only by their overall duration. Yet Cunningham, under the influence of Cage, created several dances to the music of Satie that provide an illuminating exception to this practice. I focus in particular on Idyllic Song (1944) and Second Hand (1970), both of which Cunningham choreographed to Satie's Socrate. Though created during his artistic maturity, Second Hand provides a link to the earliest self-expressive collaborations with John Cage. As a result, this choreography offers an unusual window into the Cage-Cunningham personal and professional relationship. In examining Shawn's and Cunningham's choreography, this dissertation tracks not only the changing role of Western art music in the relatively young art form of modern dance but also examines these choreographers' responses to contemporary attitudes toward the male dancer, unconventional masculinities, and the relatively new identity of the homosexual. In doing so I demonstrate how the choreomusicalities of these men reflected and refracted their masculinities and homosexualities. In addition to providing choreomusical analysis and interpretation, I revise current understandings of both specific scores and choreographies through intensive archival research (from silent films of Ted Shawn and His Men Dancers, which I have synchronized with their unheard music, to Cage-Cunningham manuscripts ignored or previously thought lost), observation of live and recorded rehearsals and performances, and interviews. Ultimately, "The Dancer from the Music" seeks to establish choreomusicality as an exemplary lens through which to view the meeting of music's ineffability with the realities and identities of listening and performing bodies in motion.

Diplomarb.--Universität Hamburg, 1994. / Bibliogr. p. 167-178.